Blogpost 2: OVER-IDENTIFICATION, SUBVERSIVE AFFIRMATION, STYOB
One of the key figures associated with absurdism in Soviet literature is Daniil Kharms, a prominent member of the OBERIU group, which sought to challenge conventional literary norms and embrace the absurd to express the chaos and uncertainty of life in the SU. OBERIU's work, "The Daughter of Patruliov," is a compelling example of absurdism characterized by its fragmentation, disjointed narrative structure, and nonsensical dialogue. For instance, OBERIU writes: "The daughter of Patruliov was born on a Saturday. Let us designate the daughter by the Latin letter "M," or after the number 6 comes 17 (OBERIU, 100).
Subversive affirmation in SU referred to a literary and cultural strategy employed by artists and writers to resist the oppressive ideological constraints of the regime while simultaneously affirming their commitment to artistic expression and cultural identity. The term reflects the paradoxical nature of creative resistance within a totalitarian system, where artists navigated the delicate balance between subversion and conformity. For example, in the article "Subversive Affirmation: On Mimesis as a Strategy of Resistance," through acts of mimicry, parody, irony, and allegory, artists can subvert the dominant narratives of Soviet socialism and expose the contradictions and absurdities inherent in the system. By appropriating and recontextualizing official symbols, slogans, and images, they challenged the official narrative and offered alternative interpretations of reality that questioned the legitimacy of state power. For example, the text mentions: "While in the context of openly repressive systems, there were very narrow limits on what could and what could not be said, today we are confronted with a situation where everything (and thus nothing) can be said.” (Arns&Sasse, 444).
Even though some aspects of over-identification can be observed in the Soviet Union's cultural and political landscape, albeit in different forms, over-identification, as a concept, was not explicitly articulated or practiced within the SU in the same manner as it was in other contexts like Yugoslavia with Laibach and NSK. The tactic of over-identification represents a radical form of subversive affirmation. Laibach gained notoriety for their hyper-literal repetition of totalitarian rituals, which became a defining aspect of their work. With Laibach and NSK, we encounter a subversive strategy termed "over-identification" by Slavoj Žižek, which involves a radical engagement with the hidden reverse of the ruling ideology that regulates social relationships. By incorporating every identifying element provided by the official ideology, Laibach Kunst and later NSK presented themselves as an organization that appeared even more total than totalitarianism. (Inke Arns, Sylvia Sasse, 448). This provocative stance aimed to challenge societal norms and perceptions, highlighting the absurdity and authoritarianism of the Yugoslav system through their radical artistic expression.
Perestroika performances during the late 1970s and early 1980s can be likened to the concept of "styob," which emerged alongside happening and performance art. "Styob" involves a form of irony, teasing, and sarcasm directed towards individuals or symbols, particularly those associated with the Soviet era. Notably, "styob" is performed directly in front of the subject, blurring the line between reality and performance. These acts of irony were often aimed at figures and symbols representing the Soviet regime, reflecting a period of newfound freedom and openness during Perestroika when criticism of Soviet institutions became more tolerated.
For example, the final general secretary of the Communist Party endeavored to bring about a significant historical shift by transitioning the country from a destructive, masculine mode to a creative, feminine one. This transformation was symbolized by placing a red Hindu bindi, traditionally associated with femininity, on Gorbachev's forehead. This feminine symbol represented a shift towards more inclusive and nurturing domestic and international politics. Mamyshev-Monroe Mamyshev-Monroe believes that concepts like democratization, Perestroika, and glasnost were extensions of this shift toward a more positive and nurturing approach, leading to a rejuvenation of the planet (Mazin&Turkina, 2014).
Absurdist literature played a significant role in Soviet society by offering resistance against the prevailing ideology and providing a space for dissent and critique. By defying the conventions of socialist realism and challenging the official narrative promoted by the Soviet regime, absurdism allowed writers and artists to explore taboo subjects, question authority, and subvert expectations. However, the role of absurdism in Soviet society was complex and fraught with risks. While it provided a means of expressing discontent and disillusionment with the regime, it also faced censorship and suppression by Soviet authorities. Many absurdist writers, including Kharms, were persecuted, arrested, and even executed for their subversive works (Carrick, N., 1994).
Despite the challenges, absurdism in Soviet literature left a lasting legacy by inspiring future generations of writers and artists to push the boundaries of creative expression and confront the absurdity of life under authoritarian rule.